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International Journal of Scientific and Research Publications, Volume 6, Issue 8, August 2016

ISSN 2250-3153

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The Shift of Focalization in James Joyce's Ulysses


Dr. Mansour Hashemi, Parvin Hesabi
Department of English literature, University of Guilan, Iran

Abstract- James Joyce's Ulysses is one of the masterpieces of


modernist literature in the realm of novel. This novel has become
particularly famous for Joyce's stylistic innovations. In this work
Joyce has extensively employed the technique of stream of
consciousness and shifting styles. One of the most important
outstanding elements of this novel is Joyce's use of multiplicity
of focalization. Joyce in Ulysses plays with different focalizers,
internal and external focalizer. The focalization shifts among
major character focalizers such as Bloom, Molly, Stephen and a
variety of other minor characters and other narrator focalizers.
By using technique such as interior monologue and stream of
consciousness Joyce's novel is mostly characterized in terms of
internal focalization. This article aims to examine the concept of
character focalizer and narrator focalizer by using Gennet's and
Mieke Bal's theory on focalization. Besides; the shift and
'alterations' among different focalizers in the novel and the facets
of focalization will be discussed in the article. Finally the
researcher by tracing the concepts the narrator focalizer and
character focalizer and the facets will affirm the concept of open
text in the work.
Index Terms- Alterations, External focalization, Focalization,
Internal focalization, Open text

I. INTRODUCTION

oyce's Ulysses represents his experimentation on the narrative


form and structure and a variety of narrative experiments and
innovation such as multiple points of view, stream of
consciousness the disruption of logical or temporal sequence, and
so on.
Reading this novel demands active participation on the part of
reader. The reader should be a knowledgeable person to be able
to read this text. The No first-timer could ever keep track of it.
Bulson (2006) states "reading Ulysses is a process of
backtracking or as in Joyce words of "Sherlockholmesing". He
also states that "It is an activity that takes the readers from the
beginning to the end and back again (p.73).
Ulysses is a Modernist novel and like most of the modernist
novels is experimental, formally complex, elliptical, and tends to
associate notions of artist's freedom from realism, traditional
genre and form, with notions of cultural apocalypse and disaster.
Most of modernist writers escaped employing a linear structure.
Thus many modernist critics consider the modern text as open
text. Umberto Eco the Italian semiotic theorist argued that many
modernist works are open and invite the reader's collaboration in
the production of meaning, Open text denotes different concept
in literary theory such as "ambiguity, discontinuity,
indeterminacy, plurivocal, on-going process, movement,
possibility, free interplay"(Cobley, 2001, p. 231).

This novel is based on Homer's Odyssey. Each chapter in


Ulysses corresponds with one chapter in Odyssey. However,
Joyce by defamiliarizing the narrative conventions makes an
innovation in terms of plot, character and design. Ulysses is
particularly different from Odyssey in terms of employing
focalizer. Homer's Odyssey is totally externally focalized while
Ulysses is totally different from Homer's work in terms of
focalization.

II. FOCALIZATION: THEORETICAL CONSIDERATIONS


The term focalization largely associated with narratology.
Different narratological critics argued on the term focalization.
The eminent figures in focalizations are Gerard Genette, Mieke
Bal, and Shlomith Rimmon-Kenan. Genette is one of the most
important literary critic in narratological studies. His main
narratological works are Noveau Discours Du Recit (1983) and
Narrative Discourse: An Essay in Method (1980) which was
originally called Figures III (1970). He introduced the term
"focalization" as a replacement for "perspective" and "point of
view". He considers it to be more or less synonymous with these
terms, describing it as a mere" reformulation" and "general
presentation of standard idea of point of view". The term
focalization dispels the confusion of the questions who sees? and
who speaks? Genette formulates three types of focalization: zero
focalization, internal focalization and external focalization.
2.2 Typology
The first type of narrative situation Genette calls a narrative
with zero focalization. This type is commonly found in the
authorial novel. Here narrator knows more than the character, or
more exactly, says more than any of the characters knows
(Genette, 1980, p.189).
The second type of narrative situation is internal focalization.
In the case of internal perspective the view is restricted to that of
the single character. Genette declares that internal focalization
says only what a given character knows (Genette, 1980, p. 189).
Internal focalization can be seen in many modern novels such as
Virginia Woolf's Mrs. Dalloway, James Joyce's Ulysses and
Finnegan's Wake and William Faulkner's works in which they
use the technique of stream of consciousness and interior
monologue to reveals character's inner thoughts. Genette puts
forward three types of internal focalization: a) fixed, b) variable,
c) multiple
The fixed one is a kind of focalization that everything passes
in one's character. The example for this kind is what Maisie
Knew, where according to Genette "we never leave the point of
view of the little girl. For variable focalization the example is
Madame Bovary, where the focal character is first Charles, then
Emma, then again Charles. The third type of internal focalizer is
multiple focalizers, that according to Genette as it happens in

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International Journal of Scientific and Research Publications, Volume 6, Issue 8, August 2016
ISSN 2250-3153

epistolary novels, where the same event maybe evoked several


times according to the point of view of several letter writing
characters. In a given narrative text, however, it can happen that
the focalizer changes from internal to external, or vice versa,
Genette calls these switches ' alterations'(Genette, 1980, p. 189190).
The third type of focalization is external focalization.
According to Genette, external focalization occurs when "the
narrator says less than the character knows (Genette, 1980, p.
189).
Mieke Bal is another important critic in the theory of
narratology. She replaces Genette's triple typology. Instead of
having three types of focalization, Bal formulated two types of
focalization: character-bound or internal (Genette's internal
focalization) and external focalization (Genette's zero and
external focalization combined into one) (Fludernik, 2009, p.
118).
Bal (1997) argues that "if the focalizer coincides with the
character, that character will have an advantage over the other
characters so this will be called character bound focalizer. The
reader watches with the character's eye and will". According to
Bal external focalization is an anonymous agent, situated outside
of the fabula, is functioning as a non-character bound focalizer
(Bal, 1997, p. 14). Rimmon-Kenan like Bal asserts that "external
focalization is felt to be close to the narrating agent and its
vehicle is therefore called 'narrator focalizer' "(2005, p. 75).
As Bal and Rimmon-Kennan asserts, the focalization has both
a subject and an object. The subject of narrative called focalizer
and the object is what the focalizer perceives (Rimmon-Kennan,
2005, p.75). As it is mentioned before, both external and internal
focalization may perceive an object from without or from within.
For instance, Molly Bloom in James Joyce's Ulysses is an
internal focalizer that perceives the object from within (RimmonKenan, 2005, p. 77).
2.3 Facets of Focalization
Rimmon Kenan suggests that the purely visual sense of
focalization is too narrow so she formulated some facets for the
concept of focalization.
The first facet is the perceptual facet. Kenan argues that the
perceptual facet relates to the focalizer's sensory range or the
perception (sight, hearing and smell) and it consists of two
coordinates: space and time (2005, p.78).
The spatial aspect is formed around the viewing position
assumed by the focalizer and the scope of which is an index to
the focalizer knowledge and control over his surroundings.
Kennan argues " translated into the spatial terms the
external/internal position of the focalizer takes the form of a
bird's eye view v. that of a limited observer (2005, p.78)".
According to Beyad and Nemati (2006) temporal level of the
story has three aspects: retrospective, synchronic and panoramic.
Nemati and Beyad state "when the focalizer is retrospective the
narrator goes back to past and invokes an event that has
happened before that point in the text. The synchronic aspect
occurs when the narrator focalizer "move forward along with the
happening of the story and much remains untold such as
detective stories. Panoramic viewpoints are common in third
person narratives where omniscient narrator focalizer have

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access to all the possibilities of time-past, present, and future


(p.61-62).
The second facet of focalization is the psychological facet.
This facet concerns or deals with the focalizer attitude,
knowledge and emotion. There are two types of psychological
components: cognitive and emotive. The cognitive component
concerns knowledge, conjecture, and belief. The emotive one is
the matter of subjectivity and objectivity of the internal and
external focalizer. When the events focalized by an external
focalizer the narration of the events is involved. But if the
process is narrated by an internal focalizer then it leads to the
behavioristic, uninvolved rendition of the fictional world
(Rimmon-Kenan, 2005, p. 80-81).
The third facet of focalization is the ideological facet.
Ideological facet in Uspensky's words is the "the norm of the text
which consists of a general system of viewing the world
conceptually, in accordance with which the events and characters
of the story are evaluated (Rimmon-Kenan, 2005, p. 83). If the
ideology of the narrator focalizer is dominant the narration is
usually taken as authoritative. Each focalizer has its own set of
beliefs, values, and categories by reference to which he
comprehends the world. The interplay among the characters
provokes a non unitary, polyphonic reading of the text.

III. ANALYSIS OF FOCALIZATION IN ULYSSES


3.1 Types of Focalization
Telemachus the first episode of Ulysses introduces the
character Stephen Dedalus who is the protagonist of his previous
novel A Portrait of the Artist as a Young Man. As it is mentioned
in chapter three, Joyce has written this chapter in the initial style.
The initial style of early episodes contains objective third person
point of view and interior monologue. As Michael Seidel states
(2002) Joyce "begins with a very traditional mode of narration in
which a natural third person voice describes what a reader needs
to know in order to keep track of a scene, characters, time,
locale, names, gestures and of objects (81)". Most of the
storylines are dialogue which is indicated by use of a dash with
simple referent such as "Mulligan said". It should be noted that
by presenting the events from the third person point of view the
focalization is totally external, the externally focalized narrative
can be seen in the first paragraph of the opening chapter:
"Stately, plump buck mulligan came from stair head, bearing a
bowel of lather on which a mirror and a razor lay crossed. A
yellow dressinggown, ungirdled, was sustained gently behind
him on the mild morning air (p.1)
The internal focalization of events appears when everything is
reported from Stephen's point of view. In the following passage
which contains definite signs of Stephen's idiom, Stephen's
interior monologue occurs in the course of a lengthy description
of Stephen's musing. In such instances the narrator knows what is
inside another's head but the voicing is not coming directly from
the person. The pattern of thought is recorded in a conventional
way and the narrator penetrates into Stephen's mind as a knowing
presence from outside that mind.
Stephen, an elbow rested on the jagged granite, leaned his palm
against his brow and gazed at the fraying edge of his shiny
blackcoatsleeve. Pain, that was not yet the pain of love, fretted
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International Journal of Scientific and Research Publications, Volume 6, Issue 8, August 2016
ISSN 2250-3153

his heart. Silently, in a dream she had come to him after her
death, her wasted body within its loose brown graveclothes
giving off an odor of wax and rosewood, her breath, that had
bent upon him, mute, reproachful, a faint odour of wetted ashes.
Across the threadbare cuffedge he saw the sea hailed as a great
sweet mother by the well fed voice beside him the ring of bay
and skyline held a dull green mass of liquid. A bowl of white
china had stood beside her deathbed holding the green sluggish
bile which she had torn up from her rotting liver by fits of loud
groaning vomiting (p.4)
After introducing Stephen we are presented by Stephen's
voice from inside his mind and the focalization becomes internal.
The below extract shows that at the beginning, we are presented
with the external focalizer and later with Stephen's voice. The
shift of focalization is obvious in this example. After one
sentence of reporting the event by external focalization, the
internal one is presented this sentence."Hair on end. As he and
others see me" is Stephen's point of view from within.
Another passage the important part in the episode is Stephen's
internal focalization is his thoughts on his mother's death.
Her glazing eyes, staring out of death, to shake and bend my
soul. On me alone. The ghostcandle to light her agony. Ghostly
light on the tortured face [.]. Her eyes on me to strike me
down. liliata rutilaantium te confessorum turma circumdet:
iubilantium te virgium chorus excipiat! No mother. Let me be
and let me live.
_ kinch ahoy!(p.11)
In the Nestor episode of the novel like the Telemachus the
blending of narrator's voice and Stephen's point of view can be
seen. Here is an example:
Across the page the symbols moved in grave morrice, in the
mummery of their letters, wearing quaint caps of squares and
cubes. Give hands, traverse, bow to partner: so: imps of fancy of
the Moors (p.33-34). The sentence starts with the third person but
here it can be inferred that the Stephen's voice can be felt in the
sentence "give hands, traverse".
The Proteus episode is different from the previous two
episodes. Proteus undergoes a drastic change. In Proteus from the
early passages we are presented with Stephen's voice and his
internal focalization. At the beginning of the Proteus the interior
monologue dominants and we deal with narrator focalizer or the
internal focalization.
Ineluctable modality of the visible: at least that if no more,
thought through my eyes. Signatures of all things I am here to
read, seaspawn and seawrack, the nearing tide, that rusty boot.
Snotgreen, bluesilver, rust: colored signs. Limits of the diaphane.
But he adds: in bodies. Then he was aware of them colored.
How? By knocking his sconce against them, sure. Go easy. Bald
he was and a millionaire, maestro di color che sanno. Limit of
diaphane in. Why in? Diaphane, adiaphane. If you can put your
fingers through it, it is a gate, if not a door. Shut your eyes and
see (p.45).
It should be highlighted that within the narrative of interior
monologue, external focalization occurs. The sentence "so he
adds" is an external and the next sentence "in bodies" is internal.
Sometimes the shift occurs very quickly that distinguishing the

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internal and external focalizer is difficult. Karen Lawrence


(1981) emphasizes that the Protues chapter is the" culmination of
the "Telemachiad" not only chronologically but stylistically as
well: here the stream of consciousness technique reaches its peak
in transcribing an educated, artistic mind (p.48). Therefore by
domination of Stephen's voice and the interior monologue the
role of the narrator is minimized and the focalization becomes
internal.
Monika Fludernik (1986) asserts that Stephen's voice is the
dominant voice in chapter one of Ulysses and that most of the
episode is narrated from Stephen's point of view in the chapter.
So he is a reflector-character or "center of consciousness" in the
Jamesian sense of the term. The shift from Mulligan's behavior to
Stephen's perception of it allows the reader to be accustomed to
Stephen's voice at the beginning. He states that Joyce penetrates
into Stephen's mind as a knowing presence from outside that
mind, recording the impressions and images belonging to
Stephen's sensibility
The most important thing that should be emphasized each
character has his or her own specific language that can be
understand that who is the speaker. In the Telemachiad as
Lawrence states:
The literate, formal poetic language is associated with the
character of Stephen Dedalus. In the first three chapters, we
perceive the world largely through the eyes of an aspiring artist,
"Woodshadows floated silently by through the morning peace
from the stairhead seaward where he gazed"(p.9) is a narrative
statement that borrows Stephen's lyricism" (Lawrence,1981 p.
42).
The chapter four of the novel, Calypso introduces Leopold
Bloom. The narrative component of this episode like the previous
episodes of Ulysses is dialogue, interior monologue and narrative
description but the interior monologue in this chapter is a bit
difference. It should be highlighted that from this chapter onward
we hear Leopold Bloom's thoughts with insertion of third person
narrator and character focalizer. At the beginning there is the
narrator's focalizer. And the focalization is external.
Mr. Leopold Bloom ate with relish the inner organs of beats and
fowls. He liked thick giblet soup, nutty gizzards, a stuffed roast
heart, liver slices fried with crustcrumbs, fried hencod's rose
(p.65)
The Lotus Eater also concentrates on Bloom's thoughts and
consciousness. In this chapter Bloom encounters various people
and places. It says the psychological aspect of Bloom's thoughts.
So, most of the passages are Bloom's point of view and his
internal focalization from within. As Fludernik (1986) states the
" basic situation in this episode is defined by a concentration of
the narrative on Bloom's point of view with predominant use of
interior monologue for the rendering of Bloom's thought (p.23).
Hades is the episode which is more focused on death than any
other episode. In this episode like the previous one we are
confronted with Bloom's internal thoughts especially on death.
Hades Also begins with the external focalizer: Martin
Cunnigham and the shift between them. There are many
examples of mingling of character focalizer and narrator
focalizer in the episode. Here is the example:
Mr. Bloom reviewed the nails of his left hand [] that keeps him
alive. They sometimes feel what a person is. Instinct. But a type
like that. My nails. I am just looking at them [](p.115).
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International Journal of Scientific and Research Publications, Volume 6, Issue 8, August 2016
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Another example is the following passage:


The whitesmocked priest came after him tidying his stole with
one hand, balancing with the other a little book against his toad's
belly. Who'll read the book? I said the rook. They halted by the
bier and the priest began to read out of his book with a fluent
croak. (p. 103)
This passage suggests that Bloom and the narrator carry on a
rapid and weird exchange of image. The sentences "Who'll read
the book? I said the rook" belong to the Joyce's internal
focalization and the sentences before and after these sentences
are external.
In Aeolus episode there is a change in focalization. The
chapter is divided into newspaper clippings. Lisette Bakker
(2010) asserts that at first all focalization is Bloom's, everything
he sees, experiences or thinks is told. Sometimes the narrator
focalizer intrudes, but Bloom always returns, as in the following
passage (p.30) At first the narrator focalizer sees Mr. Bloom but
then the focalizer changes to Bloom which is shown in the
fragment 'Dullthudding Guinness's barrels.'
At the beginning of the Lestrygonians the next chapter, there is
an external description of the scene, Bloom walks past a candy
store and interact with a man. Bloom in this chapter wanders in
different places such as Trinity College, the bank of Ireland. His
thoughts also wander to and from familiar topics like sex,
religion, Ireland and into justice and advertising therefore it can
be said that Lestrygonians is primary Bloom's monologue.
Fludernick also states that Bloom's taught occupies 72.7 percent
of this chapter (p.28).
Never know anything about it. Waste of time. gasballs spinning
about, crossing each other, passing. Same old dingdong always.
Gas, the soklid, then world, then cold, then dead sheelll drifting
around, frozen rock like that pineapple rock. The moon must be a
new moon, she said. I believe there is.
He went only by Maison Claire.
Wait. (p.212)
The first sentence is narrated by narrator focalizer but the next
paragraph is told from inside Bloom's mind. The third paragraph
again is focalized through external focalizer and the word "wait"
is Bloom's internal voice.
Scylla and Charybdis which is the ninth episode of Ulysses
depicts Stephen's attempt at the library to establish his artistic
credentionals. Stephen informally presenting his "Hamlet theory"
in the National Library. Flaudernik states that "since the narrator
in Scylla & Charybdis reflects Stephen's point of view so
faithfully that through the narrator the scene is transmuted in
literary modes that are at any particular moment the appropriate
extension of Stephen's powerfully patterned imagination. Most of
the parts of the episode are dominated by Stephen's monologue
as "Mother's death bed. Candle. The sheeted mirror. who brought
me into the world" and direct discourse. One of the important
extract from episode which is Stephen's direct voice is presented
here: "Bosh! Stephen said rudely. A man of genius makes no
mistakes. His errors are volitional and are the portals of
discovery"(243).
Wandering Rocks the next episode of the novel consists of
nineteen short views of major and minor characters particularly
Stephen and Bloom as they make their way around Dublin in the
afternoon. Much of the episodes are focused on extensions,

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appearances and movements. According to Lawrence " the


familiar techniques of narration in the first half of the book is
interior monologue, free indirect discourse, dialogue and the
initial style (1981, p 83.). Few characters are granted more than a
line or two of interior monologue.
As Flauderink states the narrative in this episode "incorporates
the thoughts of Father Conmee, Dilly Deadalus, Master Dignam,
Miss Dunne, Tom Kernan, and possibly, Blazes Boylan (p. 30).
At the begging of the episode there is an external description
of father Conmee from without. The narrator focalizer describes
his action from without by using the words such as Father
Conmee " crossed" " stopped" and sometimes from within " he
thought, but not for, but not for long, of soldiers and sailors" (p.
280) and sometimes we are presented with his internal
focalization.
The Siren episode of Ulysses begins in the restaurant of
Ormond Hotel. In the bar of hotel there are two barmaids and the
bar sing the songs from popular operas. According to many
critics this episode is the turning point in the novel where Joyce
begins to experiment with various techniques. In this chapter we
deal with music and sounds and the language becomes musical.
We are no longer presented with the thoughts of only Bloom or
Stephen as we were before. Narration intertwines with Bloom's
and all other's thoughts. Levenston states that because no
hierarchy or distinction of character's voices exists, voices melt
together, creating an "overall blunting of perception" (as cited in
Springman p.27)
At the beginning we can see sentences which are only sound,
"Bronze by gold heard the hoofirons, steelyrining imperthnthn
(p. 328). Springman (2013) asserts that the sentences substantiate
no character as the subject or center. Sentences do not operate
around the grammatical structure of noun and verb, let alone
around a subject character and a verb followed by an object (31).
Whereas virtually every sentence in "Telemachus" confirmed a
character, usually Stephen, as the center, the grammar in Sirens
confirms no one as center because we are often not sure who is
speaking or thinking or narrating (P.32). Whereas in previous
chapters Stephen and Bloom were dominant voices, in sirens
there is no priority over the voices. The hierarchy has collapsed.
The following extract shows how many voices can be dominant
in the novel."Bloowhose dark eye read Aaron Figatner's name.
Why do I always think Figathar? Gathering figs I think. And
prosper lore's Huguenot name (p.334)
According to Fludernik(1981) Bloom's interior monologue no
longer dominates in extended passages, it has become integrated
into the narrative and is continually juxtaposed with patches of
dialogue and narrative.
By Cantwell's office roved Greassabloom, by Ceppi's virgins,
bright of their oils. Nanetti's father hawked those things about,
wheedling at doors as I. Religion pays. Must see him about
Keyes par. Eat first. I want. Not yet. At four, she said. Time
ever passing. Clock hands turning. On. Where eat? The Clarence,
dolphin. On. For Raooul eat. If I net five guineas with those ads.
The violet silk petticoats. Not yet. The sweets of sin (p.335).
Greassabloom is a name that is given to Bloom by barmaids
but here it not clear is it the narrator or the characters that are the
focalizer. The sentences Eat first. I want seems Bloom's
focalization and "Not yet. At four, she said" refers to Molly if
we remember her appointment with Bloom at four.
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International Journal of Scientific and Research Publications, Volume 6, Issue 8, August 2016
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Cyclops the twelfth episode takes place in and around Barney


Kiernan's pub, the chapter begins with the barfly/narrator he
spokes with different people subsequently a narrative voice
interjects a mock-heroic description of the area around Kiernan's
pub. Here we are confronted with the first person point of view.
As reader we are subjected to narrator's very limited point of
view. Fludernik asserts that the first person narrative in Cyclops
is also definitely of the telling kind (p. 32). In this episode,
Bloom is presented from an external point of view. He is never
alone on the scene a situation which would lend itself to an
immediate reappearance of the interior monologue (Fludernik,
1986, p.33) Here is an example that Bloom is focalized by an
external focalizer:
And Bloom of course with his knockmedown cigar putting on
swank with his lardy face. phenomenon! (p.395) or somewhere
else in the novel "Bloom putting his old goo with his twopenny
stump that he cadged off Joe and talking about the Gaelic league
and the antitreating league and drink, the curse of Ireland (p.402)
Nausica is the thirtieth episode of the novel. This episode is
the introduction of Gerty MacDowell. She is described as the
second most prominent female character in Ulysses. According
to Bernard Mckenna (1966) this episode is composed of two
clearly defined sections. In the first, Gerty MacDowell
contemplates a variety of romantic subject, including Bloom,
before her section climaxes in a firework display. In the second
section, Bloom considers a range of subjects and we are again
presented by his interior monologue (p.66). Lawrence (1981)
states that what Joyce presented the first half of "Nausicaa"with
the indirect monologue of Gerty MacDowell, translated into a
language appropriate to her and by this he parodies her
sentimental mind.(p.120)
The narrative progress by describing the external appearance
of Gerty MacDowell "she was pronounced beautiful by all who
knew her thought [] her hands were of finely veined alabaster
with tapering fingers and as white as lemon juice"(p.452).
M.Teresa Caneda Cabrera(1996) states that in this episode
Joyce employs parodic language as well as the language of
different characters and genres intermingle in the episode with
such a complexity and intensity that often the reader finds
herself/himself wondering to which particular narrative voice
certain parts of the discourse belong (p.35). For example Gerty's
inner thoughts and wishes are depicted with the language of
women's magazine. When the female protagonist is characterized
in terms of her clothes a voice from a woman's fashion
magazines fuse with narrator's voice:
"A neat blouse of electric blue, selftinted by dolly days( because
it was expected in the lady's pictorial that electric blue would be
worn) with a smart vee opening down to the division and
kerchief pocket[] and a navy threequartetr skirt cut to the stride
showed off her slim graceful figure to perfection(p.36)". Here the
external focalizer is actually a voice from magazine.
The resuscitation of Bloom's interior monologue in Nausicaa
does not invalidate this argument. For one, Bloom is completely
left to himself on the beach that is we hear have ideal
circumstances for the use of the interior monologue (Fludernik,
1981, p. 33)".The following paragraph is an example of bloom's
interior thought:
She walked with a certain quiet dignity characteristic of her but
with care and very slowly because Gerty Macdowell was tight

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boots? No. She's lame! O! (p.479)". Here it can be seen that we


have the external narrator and internal voice of Leopold bloom.
Oxen of the Sun primarily focus on language, using a variety
of styles and the narrator take the modals of different prose. In
this episode we have few characters's interior monologue.
Narrator gives birth to simultaneous cacophonous voices, not a
specific character or event to determine.
The episode Circe focused mainly on Stephen and Bloom but
also includes appearances by most of the other characters in the
book. The chapter is in the dramatic structure and it reveals the
expression of subconscious and conscious minds of not only
Stephen and Bloom but many of other characters. Circe is
considered by most scholars such as Levitt, as the best example
of stream of consciousness in literature which is written in the
form of a drama. Circe is a fantasy play in which suppressed
fears, guilt, feeling are revealed (Silva, 2008, p. 73)".
The hallucination and the dream occur both in the streets of
nighttown and in Bella Cohen's Brothel, coming out of
protagonist mind in dramatic style. In this episode we are
presented with the narrator's dreamlike, somewhat crazy internal
world. The distinction between the character's interior and
exterior voices is blurred. Here is Bloom's hallucination of his
father;
Rudolph: Second halfcrown waste money today. I told not go
with drunken goy ever.
Bloom: (Hides the crubeen and trotter behind his back and,
crestfallen, feels warm and cold feetmeat) Jo, ich weiss, papachi
(p.569).
In Eumaeus Stephen and Bloom are at the cabman's shelter.
At the beginning the external voice of narrator describes Bloom,
Stephen and their actions and their dialogue. Most of the
dialogue are presented in the preceding dash" yes, to be sure,
Mr. Bloom unaffectedly bconcured. Of course our name was
added too, he added (p.717)".
Ithaca the seventeen chapter of the novel it is in the form of
long, meticulous detailed and techniquely phrased questions and
answers in the form of the catholic catechism. At the beginning
of the chapter we can see the narrator is externally. "What
parallel did Bloom and Stephen follow? What two temperaments
did they individually represent? The scientific. The artistic (p.
805)". But at the end of the Ithaca we can see the conflation of
internal and external we cannot understand totally the answers
and questions are spoken, thought or neither.
What additional attractions might the grounds contain?
As abanda, tennis and five courts, a shrubbery, a glass
summerhouse with tropical palms, equipped in the best botanical
manner [](p.839).
The above question and answer relates Bloom's house but it
isn't clear whether the focalizer is bloom or the narrator.
Penelope is the last episode of the novel relates the interior
monologue of one of the main characters of the novel, Molly
Bloom, the wife of Leopold Bloom. The interior monologue
relates in forty five pages, in this episode which is totally internal
focalization from within Molly's thoughts wanders on everything
from Bloom to his lovers, blazes Boylan and so on. This episode
depicts the psychological part of Molly and exploring her
faithfulness and unfaithfulness. Molly's desires and impulses are
represented as they naturally occur in her mind. According to
Lawrence (1981) the voice of Molly totally obliterates the
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International Journal of Scientific and Research Publications, Volume 6, Issue 8, August 2016
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authorial narrative voice. Throughout the entire chapter Penelope


is the first person narration that shut out a third person narrative
voice (p.204.).
3.2 Facets of Focalization in Ulysses
3.2.1. Perceptual facet
As discussed before the perceptual facet of focalization,
includes the two coordinates of time and space. In terms of
spatial aspect when the focalizer is external, we are confronted
with bird's eye view and since most of the events are in stream of
consciousness technique and interior monologue, we see
everything as it occurs in character's mind and this is a limited
point of view. Among temporal aspect of time, panoramic,
synchronic and retrospective, we can easily trace the
retrospective one in the novel since the narrator focalizer
constantly goes back to past and invokes an event that has
happened before such as Stephen's thought on his mother's death,
or Molly Bloom's thoughts on his lovers and Bloom.
3.2.2. Psychological facet
Psychological facet of focalization as discussed before,
concerns with the focalizer attitude, knowledge and emotion. In
both of its cognitive and emotive components, this facet is one of
the most important facets of focalization in the novel. Since
Ulysses is written extensively in stream of consciousness
technique and interior monologue, it put an emphasis on the
inner thoughts of the character focalizers and reveals the
psychological aspect of their minds. From the beginning to the
end of novel the reader extensively encounters with the emotions,
beliefs, and thoughts of Stephen, Bloom and Molly. It can be
confirmed that even if the narrator is external the reader is
presented with character's thoughts in which an external
narrator's narration is from within. Narrators uses the verbs he
thought, he knew, he felt. In terms of the emotive one when the
focalizer is internal or an external one which its narration is from
within, the narration is subjective and involved.
3.2.3 The Ideological Facet
This facet includes all the values and norms of the text
introduced through, what Rimmon-Kenan calls, "the character's
way of seeing the world" or through "explicit discussion of his
ideology" the text may have a dominant worldview that
subordinates the other voices, or it may allow interplay of
different ideologies and voices and thus make a text in Bakhtin's
word polyphonic. Many critics and researcher consider Ulysses
as a polyphonic novel. Ulysses contains what constitutes the
distinguishing feature of the novel as genera. Diversity of voices
and heteroglossia enter the novel and organize them within it into
a structured artistic system (as cited in Cabrera, p.34).
The story is narrated from the point of view of different
characters in the novel. Each time we are confronted with a
specific voice, whether external or internal. At first the
Telemaciad chapter we are presented with Stephen Dedalus's
internal focalization. But with the start of calypso episode
Stephen's dominant voice is replaced with bloom's internal voice.
In succeeding chapter the shift of focalization is also evident.
And besides the voice of main characters we are presented with
the voice of minor character.

587

IV. CONCLUSION
Ulysses has become particularly famous for Joyce's stylistic
innovations. One of the outstanding characteristic of the novel in
terms of narrative theory is its multiple focalizations. Joyce uses
multiple focalizations such as internal and external and in a way
mingles them that sometimes the distinguishing of them is very
difficult. In Ulysses we don't have any fixed focalization. Instead
we are confronted with the variable focalization that they
constantly alternates as Genette's term when the focalizer
changes from internal to external it is called alterations (p. 190).
The alteration in focalization manifests one of the important
aspects of modern and postmodern world which is multiplicity
and indeterminacy. Umberto Eco in most of his works
particularly Open Work asserts that multiplicity is a significant
theme in modern literary works which makes a work open.
Therefore we can consider Ulysses as an open text with its
indeterminacy, plurivocal and multiplicity. These features make
the narrative of the novel a figural narrative in Stanzel's term, "in
which the reader is allowed to feel like a witness of a narrative
situation without any mediation (Norris, 2006, p.36).

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AUTHORS
First Author Dr. Mansour Hashemi, Department of English
literature, University of Guilan, Iran

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International Journal of Scientific and Research Publications, Volume 6, Issue 8, August 2016
ISSN 2250-3153

Second Author Parvin Hesabi, Department of English

588

literature, University of Guilan, Iran, s.parvinhesabi@gmail.com

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